Showing 17–32 of 63 results
S256 “Carlo Bergonzi” violin$ 2,500.00
Labelled “Carlo Bergonzi”, Germany mid-late 19th century violin
Although in very good structural condition, this violin is a fine example of how not to antique an instrument.
22 scored lines in the belly, ribs and back masquerade as major cracks; a more venerable antiquity is faked by lines pretending to show a neck graft. Other abrasions look more like a rather free Arabic script than wear and tear. The tone belies the violin’s appearance- sweet, clear, resonant and easily produced.
A charming instrument for anyone with a musical ear and a whimsical eye.
S216 4/4 violin, “Stradivarius” copy, Germany, early 20th century$ 2,700.00
This German-manufactured violin employs a rather severe interpretation of Stradivari’s modelling and outline. Nonetheless it has real sweetness and clarity of tone across all strings and would make a charming instrument for a middle grade student. The varnish is a translucent brown colour, shaded to simulate wear, and the back is of pleasantly-flamed maple.
S262 Labelled “Nicola Amati”, Mittenwald, Germany, mid-late 19th century$ 2,700.00
This attractively-made German “Amati” copy violin has a warm red-brown varnish which has developed an appealing craquillure pattern. The maple back is in one piece, with a soft, sloping flame. The tone is clear and pleasant, with a similar quality over all four strings. The violin is accompanied by a half-moon, Bobelock case and a student-quality bow.
S317 Jürgen Klier, Mörendorf, Germany, early 21st century$ 2,700.00
The Klier family have been active as violin makers and manufacturers for several generations. The Jürgen Klier workshops are based in Mörendorf, an outlying town northwest of the major violin making centre of Bubenreuth. This half-sized violin has been well made, with a strongly scraped, attractively antiqued varnish. The tone is very good for a small instrument, with warmth, depth and clarity. The violin has been well set up and is very easy to play.
It comes with a sturdy, oblong case and two bows.
C349, Unlabelled “Amati” copy violin, Germany, late 19th or early 20th centuries$ 2,700.00
True to its Amatese modelling – the broad, scooped channels within the purfling and the high, smoothly arched curves of the belly and back – this German violin has a sweet, silvery tone, with clarity and a reasonable volume. The one-piece maple back has a very attractive, narrow flame, and the edge work is delicate, with slender, tapered corners.
C261 German trade, late 19th or early 20th century$ 2,700.00
Although this violin has a commercial, spirit-based varnish, it has been made in the style of the 18th and 19th century hand copyists of Stainer and Amati, with a long, slightly narrow outline and a full, rounded arching which rises from the purfling. The sound is strongly influence by the modelling, with an unusual, deep but clear tone.
S260 “Antonius Stradivarius”, Germany, late 19th or early 20th century$ 2,700.00
Labelled “Antonius Stradivarius” Germany, late 19th or early 20th century.
This golden brown violin has been antiqued either creatively, with elaborate acid etching on most varnished surfaces. The modelling is broad and strong, belying the tone, which is quite sweet and clear.
S318 Unlabelled, Chinese, early twenty first century$ 2,750.00
This attractive-looking instrument is one of the new breed of handmade violins now emerging from China. The wood of the back and ribs may well be European, and has an attractive, soft, glowing flame. Though unlabelled, the violin is a reasonable copy of the work of Guarneri del Gesu. The tone of the upper strings is particularly appealing, with clarity, resonance but no harshness.
S331 Labelled “Joseph Kloz”, Germany, late nineteenth or early twentieth century$ 2,750.00
The large and prolific violin-making workshops of Saxony and Bohemia modelled most of their instruments after the great Italian luthiers –Stradivari, Guarneri del Gesu, Maggini, and the Amati family. Occasionally they copied their own countrymen, usually producing rather squarely-arched interpretations of Jacob Stainer. In this case, the model is a loose interpretation of the work of Joseph Kloz, one of the better Mittenwald makers, and despite the relatively plain wood used, the violin’s arching gives it a sweet clarity of sound that is very appealing.
C343, Labelled “Stradivarius”, European, probably German, early 20th century$ 2,800.00
This pleasant-looking, European-manufactured violin has relatively plain-looking wood but a surprisingly attractive tone, open, resonant, warm and characterful. The varnish is a red-gold colour, shaded to simulate wear but without any other antiquing.
C376 Labelled “Copy of Nikolaus Amati”, Germany, early twentieth century$ 2,800.00
This is an individualistic interpretation of a generic “Amati” style, rather than an accurate copy of a Nicolo Amati violin, with its exaggerated, open nicks, and scooped and rounded arching. The edges are very narrow, with the purfling poised on the highest point, leading into small, delicate corners, the overall effect very similar to instruments made in the Hermann Dölling workshop. The sound is resonant, open and clear, particularly on the outer strings.
C367 Unlabelled, Germany, early twentieth century$ 2,800.00
With its warm brown varnish, softly-flamed maple back and largish, somewhat Stradivari-like proportions, this is a thoroughly suitable violin for a student entering the middle grades. The tone is very even across all four strings, and has a sweet, clear character.
S250, 4/4 Violin, Copy of “Stradivari”, Europe, Late 19th or early 20th Century$ 2,900.00
Although its country of origin cannot be determined either from its generic “Stradivarius” copy label or its overall appearance, the construction of the rib corners does point to manufacture in a French workshop, or to a clever take on French construction – a copy of a copy, perhaps. The two-piece back and neck have a strong, handsome flame, and the tone is resonant, with a free-sounding, silvery character, making this violin an appealing choice for a middle-grade student.
S224 viola, “D. Soriot”, Mirecourt, France, late 19th or early 20th century.
At 396 mm (just over 15 ½ inches) this small, French viola would suit someone with smaller hands or shorter arms. ‘D. Soriot’ was a name used on labels of instruments made in the famous Laberte workshops, in the Vosges violin making town of Mirecourt. This viola has a warm brown varnish and a lightly-figured maple back. It is accompanied by a case and bow.
S348 Labelled “Joseph Guarnerius” and stamped “Concert violin Guarneri”, Germany, late 19th or early 20th century$ 2,900.00
This is a boldly executed copy of the later style of “Guarneri del Gesu”, with its elongated “Brescian”-influenced ‘f’ holes, broad central bout and long, open ‘C’ bout curves. The tone has a throaty depth on the lower strings and a silvery character on the E string. The varnish is a rich red-brown, antiqued to simulate age and wear.
S321 Labelled “Michele Deconet… 2005” China, early twenty-first century$ 2,900.00
This is a very attractive-looking violin, with a golden orange-brown, lightly-antiqued varnish that enhances the appearance of the wood below. Michele Deconet was an eighteenth century Venetian maker of French birth, whose output was prolific but quite variable in style. Some small attempts have been made here to imitate the detail of his work, most notably in the narrow, tapering lower wings of the ‘f’ holes, though the upper wings are decidedly Stradivarian. The tone is clear and resonant, and particularly pleasing on the D and A strings.